Mikolo

Mikolo follows the escapades of two clever kids who embark on a thrilling adventure while visiting their grandma. The bold visual approach in the film caught my attention, and I believe it’s a noteworthy endeavor. Also, it’s a crucial addition to Nollywood’s need for more children’s films, which are quite scarce in the current film landscape!

Mikolo breaks new ground in Nollywood, marking a unique venture by Niyi Akinmolayan. It pioneers Nigerian first live-action animation, merging real actors with CGI to create a world of limitless possibilities and a diverse cast of characters.

In Mikolo, the storyline follows siblings Funke (Pamilerin Ayodeji) and Habeeb (Fiyinfoluwa Asenuga) as they stumble upon the enchanting Mikolo, a magical creature. Their adventure unfolds as they journey into the mystical Irumole forest, rumored to harbor extraordinary beings, all in a quest to assist Mikolo in finding his way back home.

In the landscape of Nollywood’s inaugural live-action animation production, Mikolo, the direction and performances stood out remarkably. Pamilerin Ayodeji and Fiyinfoluwa Asenuga delivered impeccable and superb acts, particularly noteworthy for their ability to engage with an unseen fictional creature on set. Their commendable dialogue delivery and reactions deserve a mention.

Funke and Habeeb’s mission to help Mikolo return to the forest is intertwined with a family drama between Maleek (Daniel Etim Effiong) and Lola (Yvonne Jegede). The couple faces challenges balancing career and family. Maleek’s desire to move to the UK clashes with Lola’s decision to stay in Nigeria, causing strain in their marriage. When Funke and Habeeb go missing, the search brings the family together, providing a chance for them to address their differences and prioritize their children’s needs.

Mikolo’s cast delivered impressive performances. The character dynamic between Funke and Habeeb showcases well-crafted characterization. Yvonne Jegede’s portrayal adds emotional depth, complemented by Ayo Magaji’s authentic performance. While Daniel Ettim met the role’s requirements without uniqueness, keep an eye on Pamilerin Ayodeji; she exhibits potential as a future A-list actor.

Watching Mikolo with my 5-year-old godson stirred mixed emotions. While my analytical mind frowned upon the film’s believability and visual coherence, my godson was utterly captivated from start to finish. Despite my concerns, his sheer enjoyment and fascination, especially given his exposure to more realistic CGI scenes in Adventure and Fantasy films, highlighted the film’s visual appeal, especially for audience of his age bracket who do not care about any standard.

Mikolo falls short of international standards and isn’t flawless. I’ve always been aware of the potential clash when Nigerian filmmakers incorporate CGI elements into their stories, disrupting visual coherence. Mikolo exhibits this flaw, yet it’s essential to commend Niki Akinmolayan for his audacious step in pushing the boundaries of Nigeria cinema. Despite imperfections, this marks a significant stride towards aesthetic growth and innovation.

Mikolo’s storyline also has its flaws, notably the inconsistency surrounding Abula (Riyo David), portrayed as the protector of spirits in Irumole forest. The narrative fails to establish the humans who defeat and hold him hostage as having any supernatural abilities to control a spirit entity. The sudden shift from Abula triumphing over the town’s youths to being captured in a warehouse raises questions about how mere humans could overpower a spirit warrior and protector of the forest.

Striking a balance between CGI elements and the cultural context of African narratives is pivotal. Mikolo reveals instances where CGI clashes with real-world elements, affecting visual coherence. The film noticeably lacks the incorporation of African cultural nuances and representation into its designs, hindering the alignment of CGI elements with the real-world setting and characters within the context of the African narrative. Nevertheless, Niyi Akimolayan and Anthill Studios’ choice to embrace the unconventional is not only praiseworthy but also a significant step toward enhancing the aesthetic growth of Nollywood.